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Vlaho Bukovac and His Konavoka in the Graphic Version of Rougeron-Vignerot & Paris Printing House—Genesis and Morphology

Stane Đivanović

Puni tekst: hrvatski pdf 2.140 Kb

str. 209-226

preuzimanja: 1.186



Research in the archives of the Bukovac House in Cavtat has recently resulted in the finding an illustration of Konavoka – Une Slave d’Autriche des environs de Raguse, published in the Paris review L’art et la Mode of 12 December 1885, which points to the author’s unknown drawing and its printed graphic sheet. Further study has shown that “Rougeron Vignerot” stands for the printing manufacture of two main partners, ROUGERON – VIGNEROT &, operating from the middle to the turn of the century. This printing house specialised in reproductive and commercial prints, individual graphic maps, as well as the illustrations for the most representative periodical and literary publications intended to meet the taste of the elite Paris circles and broader European readership. Among anonymous collaborators of the printing workshop, one should seek the author of the graphic version of Bukovac’s Konavoka, the original drawing probably dating from November or early December of 1885, shortly after the artist’s arrival in Paris. In-depth examination of this illustration has led to a painting, oil on canvas, signed Vlaho Bukovac / Cavtat, 18(85), in the catalogue registered as Konavoka u zimskom ruhu (Konavoka in winter garments). There is ground to assume that this canvas, known as Cavtatska Konavoka, Bukovac may have painted during his short visit to Cavtat in October 1885, before his departure for Paris, and that it is actually a study, concept for a larger canvas Paysanne des environs de Raguse - Pariška Konavoka, exhibited at the Salon in 1886. The question of posterior ʽinterventions’ on the small painting (Cavtatska Konavoka) has been resolved by a photograph of the artist’s studio in Prague from 1917, a testimony to the author’s renewal of its spread out canvas. Another photograph of the artist’s Paris studio showing Pariška Konavoka adequately framed for the Salon contributes to its dating 1885-1886. The author of this article compares Bukovac’s works rendering the motif of Konavoka, tracing their genesis and morphology. While the drawing and a print represent an incomplete standing figure leaning on the corner of the wall, with vague floral patterns in the background, Pariška Konavoka opens up ʽen plein-air’, with the figure somewhat retreated away from the foreground. This significant painting that marks the turning point of Bukovac’s opus the author registers in the catalogue of his missing works from 1885-1886. Possibly, as early as 1886-1887, this painting together with Andromeda was sold in England by the Vicars Brothers art dealers. The whereabouts of these two paintings along with many other works of Vlaho Bukovac are unknown.

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